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Camera Obscura (2004) 19 (1 (55)): 181–197.
Published: 01 May 2004
...Julia Bryan-Wilson Miranda July. Courtesy Miranda July Some Kind of Grace: An Interview with Miranda July Julia Bryan-Wilson “I come from very far away. I come from the basement.” This line, from one of Miranda July’s sound pieces (“I Can-Japan,”on the CD The Binet-Simon Test...
Camera Obscura (2017) 32 (2 (95)): 89–115.
Published: 01 September 2017
...Ewan Kirkland The recent generation of My Little Pony has received popular and academic attention due to its visible following of young male enthusiasts. This article explores this so-called Brony phenomenon in terms of gender and age, cult spectator practices, fandom, masculinities, and the kinds...
Camera Obscura (2017) 32 (2 (95)): 117–151.
Published: 01 September 2017
...Ora Gelley The French director Catherine Breillat has in recent years become a kind of figurehead for what has been perceived by many as a new trend in contemporary European cinema toward extreme representations of violence and graphic sexuality. As a consequence of the controversy provoked by...
Camera Obscura (2017) 32 (3 (96)): 63–91.
Published: 01 December 2017
... homosexuality that it evidences, it simultaneously renders race invisible. The figure of Truman Capote thus becomes a kind of historical shorthand for the nexus of whiteness, male homosexuality, and effeminacy. In other words, the depiction of Capote’s midcentury gay effeminacy in Infamous functions to...
Camera Obscura (2008) 23 (1 (67)): 113–143.
Published: 01 May 2008
... of race and sexuality, as well as of formulating “queer of color” as a kind of critical modality. Much like Harriet Beecher Stowe's Uncle Tom's Cabin functions, according to Sigmund Freud, as a cultural artifact prized in the form of an idealized beating fantasy by the Victorian (white) child...
Camera Obscura (2014) 29 (1 (85)): 111–135.
Published: 01 May 2014
.... In this article, the author argues that analyzing both the various kinds of crossovers that The Kids Are All Right engages at a thematic level and the form of crossover that the film itself undertakes in its perceived intervention into American film culture provides a way of understanding the film's...
Camera Obscura (2016) 31 (2 (92)): 27–59.
Published: 01 September 2016
... Girls is a study in the classic psychoanalytic account of abjection, often depicting its protagonist as a dehumanized object full of disappointed drives, The Misadventures of Awkward Black Girl humorously blends the historical weight of black abjection with other kinds of abjection, so that the...
Camera Obscura (2011) 26 (3 (78)): 146–153.
Published: 01 December 2011
... Bigelow's age and appearance, as well as her relationship with former husband and director James Cameron. Overall, Bigelow's public persona exists in a kind of no-woman's land. It includes male traits typically deemed necessary to achieve auteur status and sufficient female traits to soften her image and...
Camera Obscura (2012) 27 (3 (81)): 137–147.
Published: 01 December 2012
... effects on experimental media wrought by the proliferation of digital technologies, the deterioration of media formats, the migration of the moving image into the museum, the experimental community's greater sense of itself as international, and shifts in the kinds of institutions and informal structures...
Camera Obscura (2013) 28 (1 (82)): 103–123.
Published: 01 May 2013
... cultural and political theory by suggesting that the state of theory today is plagued by a form of autoimmune disorder. That is to say, certain kinds of cultural and political theory confront themselves as enemies, as something that should be attacked. With reference to the work of Alain Badiou, Jacques...
Camera Obscura (2014) 29 (2 (86)): 119–147.
Published: 01 September 2014
...Tania Modleski This article looks at theories of melancholia to analyze “bromantic” comedies of the kind often associated with film producer, director, and writer Judd Apatow. Taking its title from the references to the film An Affair to Remember (dir. Leo McCarey, US, 1957) that run through the...
Camera Obscura (2012) 27 (1 (79)): 31–67.
Published: 01 May 2012
..., industrial, and transnational levels. In the Twilight series, Pattinson's highly flexible star image appeals to audiences with different kinds of sexual or romantic desires, for if we look carefully at the way Edward Cullen is represented, and how Pattinson is marketed in the media, he is portrayed as both...
Camera Obscura (2009) 24 (1 (70)): 135–175.
Published: 01 May 2009
... induces another kind of damage, or agnosia: the ability to evaluate facial beauty. “Liking What You See” reflects on the ways in which such a technology might either disrupt or reproduce gender and racial ideologies by altering people's ability to recognize and experience a particular form of visual...
Camera Obscura (2009) 24 (3 (72)): 73–109.
Published: 01 December 2009
... categories of difference regulating human organization and politics are as temporary and as transient as all historical artifacts. Alterity-as-biopolitics is also, however, a kind of traumatic sign that persists across history, and its meaning is often concealed. The article concludes with speculation about...
Camera Obscura (2021) 36 (1 (106)): 231–239.
Published: 01 May 2021
... digital transition as a model, the author interrogates the potential for online platforms to serve as a kind of scholarly postcard that offers accessible and more sustainable practices for sharing research and building more resilient and inclusive academic communities. Copyright © 2021 by Camera Obscura...
Camera Obscura (1985) 5 (1-2 (13-14)): 148–157.
Published: 01 September 1985
... the museum “display”-not just the art museum but something like the natural history museum as well (which I’ve always thought of as a vast metaphor for the exploration of the mother’s body). I wanted to put this archeology of everyday life into that kind of framed space-an...
Camera Obscura (1984) 4 (3 (12)): 163.
Published: 01 December 1984
... the ’60s’’ demands examination and response. It was Taubin who represented Keller’s films as unproblematically feminist. My article primarily addressed the problem of this kind of criti- cism which would elevate any film to such an exclusive and rarified position, when at the very least...
Camera Obscura (1979) 1-2 (3-1 (3-4)): 3–4.
Published: 01 May 1979
... separate articles but, together, as a kind of editorial statement because they say a lot about our past work together, our backgrounds, how we came to be doing this kind of specialized film analysis from a feminist perspective, why we have chosen to work on certain films, and indications for our...
Camera Obscura (1984) 4 (3 (12)): 162–163.
Published: 01 December 1984
..., she should prescribe more explicitly what kinds of filmmaking she would approve of and judge to be properly feminist. Then filmmakers who wish to make feminist films will know exactly what to do. One can criticize ambiguity on aesthetic grounds - claiming, for instance...
Camera Obscura (1989) 7 (2-3 (20-21)): 248–252.
Published: 01 December 1989
... on this subject by women in film studies is the result and the benefit. 5. As for works of others important to me, I have found my own inspiration from every kind of study to which I have been exposed, but I would hardly recommend this specific itinerary to anyone today...